Preview

The young Finnish artist Salla Tykka came to prominence in 2001 when her film Lasso was screened at the Venice Biennale. A romantic epic set in the icy suburbs of Helsinki, it depicted a young man performing lasso tricks inside a bourgeois home spied on by a girl, and was adored for its lush footage, sexual tension and the compelling mystery surrounding the two protagonists. Two other films followed, Cave and Thriller, completing a trilogy of work inspired by three cinematic genres: the western, science fiction and Hammer horror. This is a rare opportunity to see all three films, plus Zoo (pictured), a new work that pits humans and animals in a psychological drama inside the confines of a zoo. Jessica Lack

· Chapter Gallery, to Sep 10

Christodoulos Panayiotou, Oxford

If clichés are the common vocabulary of human communication, then romantic clichés might be the common ground of our most passionate desires. As any great blues or fado or country and western singer will demonstrate, some of art's most elevated moments come about when cliches are revivified, when the embarrassing predictabilities of our language are given a convincing new voice. Christodoulos Panayiotou, from Cyprus and trained in dance and theatre as much as in theory ladened fine art, is unafraid to deal in such subject matter as fireworks, confetti and sentimental songs, but he choreographs such elements with exquisite compositional poetry. Here he presents a video of multicoloured fountains and vapour trails. Robert Clark

· Modern Art Oxford, to Sep 9

David Shrigley, Edinburgh

Recent etchings and woodcuts by the acclaimed artist and Weekend Guardian cartoonist. Shrigley's art amounts to variously wayward and profound doodles. Despite their deceptive air of intuitive spontaneity, his images are as often the stuff of absurdist hysteria and dread as they are of playful mischief and tragi-comic relief. Titles of past projects have ranged from Let Not These Shadows Fall Upon Thee through to Drawing Whilst On The Phone To An Idiot. Though obviously obsessively composed and rigorously edited, his drawings remind us of the impulsive vitality of graffiti before it became hopelessly stylised and culturally anaesthetised. We might think of ardent declarations of love carved into a tree or the graphic escapist fantasies of life-sentenced prisoners. Shrigley touchingly makes public the kind of irrational and irresponsible impulses we experience during moments of the most banal loneliness. Robert Clark

· Edinburgh Printmakers, to Sep 16

Harold Offeh, London

Its time to get a groove and tear the roof off the sucker as The Mothership Collective descends on the South London Gallery. The soul of George Clinton's cosmic vibe will linger over the coming month as Harold Offeh invites numerous artists to create installations in homage to the great man of P-funk. In a futuristic atmosphere kickstarted by Clinton's Funkapus, Arthur C Clarke's sci-fi ramblings, Nasa and the Star Trek Enterprise, Offeh celebrates the collusion of art, science and Afro-futurism. Visitors can record their own funk track, become an alien or find an intergalactic soulmate. Through film, drawings, music and video, artists including Olivia Plender, David Blandy, Barby Asante and Andrea Encinas reveal the prophetic visions of the mystical musician. Jessica Lack

· South London Gallery, SE5, to Aug 27

Lesley Halliwell, Sheffield

As any artist will tell you, the process of making is ultimately most of the point in the creation of art. Far from the pastime pleasures of the night class amateur, the studio struggle involves as much tedium as inspiration. And if the artwork comes off, it might embody some kind of life-affirming tracery. Lesley Halliwell is an artist who makes such a big deal of the process that she titles her works thus: 20 Assorted Colour Inks, 3,377 Minutes (2005). Her basic tools are ballpoint pens and the children's art-making toy, the Spirograph. Now, Spirographs might be excluded from nursery art class for being gimmicky and inclined to churn out characterless, repetitive patterns. But Halliwell wields hers to breed elaborate webs of rare aesthetic enchantment. Robert Clark

· Bloc Space, to Aug 20

NightJam, Website

Earlier this summer, the electro-alchemist Scanner, known for his revolutionary music that twists technology into hypnotic soundscapes, invited a group of kids from a homeless shelter in King's Cross to collaborate on a project about the nocturnal metropolis. The result is a collection of bittersweet songs that capture the despair and loneliness of the dispossessed and overlooked. They accompany a photographic essay made by the children that reveal their bleak impressions of London. Snails infest a box of chips abandoned by a late-night commuter, bare lamp bulbs burn in a mouldy room and empty bottles of Lambrusco sit on a windowsill. Organised by the art organisation Artangel, the year-long project can be seen online. Jessica Lack

Ron Mueck's sculptural giants come across with so much presence, making you feel immediately spooked, they might be more associated with magic and amusement than with the subtle profundities of art. But it is Mueck's outsider perspectives, his misfit tactics, his realist sleight of hand, that mark him out to be someone special. Whether characterising the awkward pubescence of a teenage girl or the gormless innocence of a baby boy, Mueck fleshes out a world of existential unease and fearful vulnerability. It's as if his lone, often nude and somnambulistic protagonists, having been caught out in public with their pants down, make us feel equally uneasy having invaded their personal body space. Robert Clark

· Royal Scottish Academy, to Oct 1

The Miniature Worlds Show, London

Seven artists create tiny dystopian worlds. From Michael Whittle's battered landscapes in which burnt-out toy cars and Greek columns vie for space on tattered cardboard to Tessa Farmer's skeletal fairies intermingling with insects (pictured), this is an exhibition in which the artist plays God. Liz Dawson's paintings are a cross between William Blake's feverish hallucinations and the new age visions of Tolkien, while Adam Humphries' polystyrene sculptures, scattered across the floor, look like delicate meteor showers. The show is like a model enthusiast's dream sequestered away in an attic, creating a personalised universe devoid of human intervention. Jessica Lack